The traditions of the English people, also, are such as would naturally suggest to them the idea of an enterprise of this kind; for not only have Fairs (which may be regarded as a rude attempt at a more general exhibition of wares than that afforded by the mere ordinary display of shops) been common here, as elsewhere in Europe, for many centuries, but exhibitions more nearly resembling the present Institution, in which the palm of excellence, rather than direct commerce, is the primary object, have taken place here frequently during the past century, through the enterprise of individuals, or societies, independently of any assistance from the Government. As early as the year 1756, the "Society of Arts" of London offered prizes for the best specimens of various manufactures, tapestry, carpets, porcelain, &c., and held public exhibitions of the works which were offered in competition; while about the same period, the Royal Academy, as a private society, patronized by George the Third, rather in a personal capacity than as the head of the legislature, organized its exhibitions of painting, sculpture, and engraving; and during the last thirty years exhibitions of machinery and manufactures, gotten up entirely through the efforts of private individuals, have taken place not only in the metropolitan cities, in London, Edinburgh, and Dublin, but in all the principal towns of the United Kingdom.
The earliest national exhibition of industrial products in France, occurred in 1798, and was followed by others at irregular intervals until 1819, since which period they have taken place every five years, and have exercised a marked effect upon the industrial development of Europe. The brilliant character of the two last of these exhibitions (in '44 and '49), led to several ineffectual attempts on the part of the Society of Arts, and others, to interest the British Government in the getting up of a similar exhibition of the products of British industry, to be held in 1851.
At length in 1849, Prince Albert, who, as President of the Society of Arts, had known and sanctioned all these proceedings, took the project under his own personal superintendence, enlarged upon the original design by proposing to invite the co-operation and competition of all foreign nations, and proceeded to settle the principles upon which the enterprise, thus modified, should be conducted, and the mode in which it should be carried out.
The first steps toward the realization of this new plan, were made in the name, and under the auspices of the Society of Arts; but so universal was the interest which this noble project called forth throughout the country, that it was thought advisable to make it a national concern, by taking it out of the hands of the Society, and intrusting its execution to a body of royal commissioners, appointed for that purpose by the Government, with Prince Albert as its President; the Government, meantime, giving its sanction only to the undertaking, and merely lending its aid when it was absolutely indispensable, as in correspondence with foreign countries, providing a site for the building, organization of police, and the cost of such assistance whenever it entailed expense, being defrayed from the funds of the Exhibition, thus leaving all the responsibility of the attempt, pecuniary or other, with the commissioners themselves.
The subsequent history of the "rise and progress" of the undertaking; the promptitude with which the requisite funds were subscribed by private generosity; the selection of Hyde Park as the site of the projected Industrial Palace; the various plans proposed for the building, and the final adoption of the design of Mr. Paxton, after the model of a conservatory by him erected for the Duke of Devonshire; the admirable manner in which this design has been carried out by the architects, Messrs. Fox & Henderson; the cordial response with which England's friendly challenge has been answered by all the peoples of the globe, from her next-door neighbors across the channel, to the far-off denizens of Orient, and remote islands of sunny southern seas; the imposing ceremonial which, on the appointed day, threw open the vast Museum to the gaze of an impatient public; the crowds of titled dames and potent seigneurs, of the "wealth, beauty and fashion" of the aristocratic world, that fill, day after day, the immense area, wandering from one magnificent display to another, and marvelling at the richness, perfection, and variety of the countless objects that meet their eyes at every turn; the probability of a somewhat formidable thronging of less elegant, but equally interested visitors, when the "shilling days" begin; the fabulous wealth flowing, week after week, into the treasury of the royal commissioners at the various entrances of the buildings; and the growing desire on the part of the public, that the funds, thus arising from the Exhibition itself, should be appropriated to the formation of a "Permanent Museum of the Art and Industry of all Nations;" all this is too well known to call for further comment.
The first impression created by the interior aspect of the Crystal Palace, is one of admiration. Magnificent indeed is the lofty dome of the transept, arching over glorious old trees, oriental shrubbery, statuary, fountains, and masses of gorgeous flowers; the brilliant perspective of the central aisle, with its double lines of galleries, stretching away on either hand, and traversed by countless avenues, every point of the vast expanse presenting its own special subject of interest, and challenging the beholder's gaze. But so extensive and various is this great collection, so striking are the contrasts of form, color, and use, presented by the endless succession of objects that meet the eye in every direction, that the sentiment of admiration soon gives place to a feeling of hopeless bewilderment. A careful study of maps and catalogues, and many visits, spent in making a general survey of the various departments of the building, are indispensable preliminaries to a more intimate acquaintance with the admirable objects contained in each. But the topographic and distributive arrangements of the building understood, the chaos of one's impressions becomes gradually into order; and the work of examination goes on with more success.
The transept and the western wing are occupied by Great Britain and her colonial possessions; the eastern wing is appropriated to foreign nations, the countries lying nearest the tropics being ranged immediately round the transept. Objects of art and artistical industry occupy the central portions of the building; raw materials, machinery, hardware, and carriages being placed nearest to the walls. The objects admitted to the exhibition come under four general categories: raw materials, machinery, manufactures, and fine arts, and are divided into thirty classes, an arrangement which greatly facilitates the business of investigation and comparison.
Many of the Oriental nations are very fully represented, especially India; it would be difficult to cite any department of Indian life and industry not illustrated in the ample collections of her natural and manufactured products, gathered together with the utmost care. China, Tunis, Persia, and the islands of the Indian archipelago, are also here in great force, and make a very brilliant display. The exquisite texture of many of their woven fabrics, the richness of color and effect, the incredible fineness and delicacy of workmanship displayed in many of their manufactured articles, prepared with the aid only of the rudest tools, often surpass all that the enlightened skill of European artisans can accomplish, and may furnish western industry with many valuable models and precious suggestions for future use. But the beauty of eastern productions lies solely in perfection of detail; there is nothing large, generous, or comprehensive in barbaric industry. All that its resources can accomplish is lavished on objects of parade and luxury, often absolutely useless, and always destined for the privileged few; the element of ordinary existence, all that goes to make up the daily life of the masses, is coarse and rudimentary. These shawls, which, for fineness of texture, richness of color, and beauty of design, leave the choicest productions of European looms at an immeasurable distance; these muslins and gauzes, finer than gossamer, yet covered with exquisite traceries in gold and silver thread, fabrics that seem too etherially light to be worn by others than the ladies of Titania's court; these silks and satins, and damasks of admirable texture, and of richest dyes; these magnificent garments, stiff gold embroidery, with precious stones and with tinsel whose glancing hues produce an effect quite as brilliant as that of the jewels; how strangely they contrast, these splendid things intended for the few, with the coarseness of the fabrics destined for the ordinary use of the many. Compare these magnificent housings and accoutrements, these saddles of velvet, stiff with gold, these reins, and swords and daggers, full of pearls and jewels, with those clumsy implements of labor, and those uncouth, heavy utensils of domestic life. Compare the elaborate workmanship of screens, cabinets, vases, lamps, and tables, with the primitive candles and suspicious-looking soaps; the magnificence of carriages and palanquins, luxuriously cushioned, and hung with velvet and gold, in which lazy, bloated grandees are lounging, laden with jewels and finery, with the naked, emaciated bearers, human brutes that replace beasts of burden, and contrast, unfavorably, with average European horses!
In European industry, on the contrary, an ascentional, out-reaching movement is every where visible. Beauty remains no longer in scornful isolation, divorced from use, but descending into the domain of every-day existence, incorporates her divine essence in all the forms of common life, pervading the lowliest spheres, raising and ennobling the humblest details, by her purifying and vivifying presence. This tendency, visible in the industry of all European nations, is still more clearly evident in the manufactures of France and England, whose productions, standing at the head of all others, constitute the highest expression of the industrial spirit of the age. Here the hardest and heaviest materials, wood, iron, and stone, become plastic under the workman's hand, assuming the most brilliant polish, the lightest and most elegant forms; grates, fire-irons, and kitchen-ranges, rival, in lustre and beauty, the attractions of diamonds, goldsmiths' work, and flowers. The admirable construction of machinery shares in the enthusiasm excited by the beautiful fabrics woven by their tireless fingers; and the "Golden Marriage" of use and beauty is every where celebrated under varying forms.
They who imagine that art has died out of the world, and sigh for the chisel of Praxiteles, the pencil of Apelles, and the glorious conceptions of the masters of the middles ages, would do well to visit the Crystal Palace, and contrast the rudeness which shaped all the elements of ordinary life in former periods, with the elegance and beauty which the simplest objects of common use are beginning to assume. Not, however, that the one necessarily precludes the other, or that we are fated to produce no more fine statues and paintings, no more monumental temples and palaces, because we now have, at lower prices than were paid in ancient times for inferior articles, beautiful carpets, and fabrics of silk, wool, and cotton, furniture, porcelain, and glass, in which the thought of the artist and the craft of the artisan are so admirably blended that they seem to be identical. Art is not dead; it is throwing out wider and deeper roots, and will bear richer fruits in the garden of the future, enriched by the mingled detritus of by-gone ages, than it has ever borne in the primitive formations of the past.